Posts Tagged ‘Joe Nichols’

As predicted by Bob McDill twenty years ago, it’s not that uncommon anymore for artists to go country, especially those known for other career aspirations. It’s particularly true for television actresses, with Pretty Little Liars star Lucy Hale adding her name to the growing list that includes Jana Kramer and Julianne Hough.

Hale is no different than her contemporaries, having to fight to earn her country credentials just like Kramer and Hough before her. With ample fiddle and a cool yet catchy drumbeat, she sets off on the right foot with “You Sound Good To Me,” a sunny uptempo number written by Ashley Gorley, Luke Laird, and Hillary Lindsey. Hale brings a natural effervescence to the track that works well.

Hale brings a sinister vibe to “Goodbye Gone,” a dusty banjo-infused rocker written by J.T. Harding, Melissa Peirce and Andy Dodd. She may be caught up in the all-to-familiar tale of a woman ending things with her man, but Hale brings ferocity to the proceedings that help sell the track beautifully.

While the electric guitars may come on a little thick on “Lie A Little Better,” Hale’s confident vocal cuts through the noise just enough that isn’t as intrusive as it could be. “Kiss Me” is a lot softer and allows Hale the room to breathe and give a tender vocal that’s quite endearing. With neither of the songs overwhelm lyrically, Hale saves the day by injecting the right amounts of personality into her vocal performances. “Love Tonight” is another similar song in nature, but the handclaps in the melody are a bit addicting and make up for any weaknesses in the lyric.

“From the Backseat” is a nice mid-tempo number sonically reminiscent of Sara Evans’ Restless album written by Mike Daly, Jimmy Robbins, and Nicolle Clawson. The track had me until it went flavorless on the chorus, which employs the wall-of-sound production technique so much that it intrudes on the uniqueness of the song and Hale’s vocal.

The truest test for any singer on a debut album is the moments where the production is left sparse, where any vocal limitations will stand out like a sore thumb. Hale’s moment comes on Tom Douglas, James Slater, and Lindsey’s “Nervous Girls” and she passes with flying colors. The production may still lean country-pop, but she proves quite nicely that she can hold her own against any of her contemporaries.

Joe Nichols, back in traditional country mode vocally, joins Hale for “Red Dress,” a somewhat awkward moment that finds the two playing out the male and female aspects of a relationship. Kacey Musgraves co-wrote “That’s What I Call Crazy” and proves she’s adept at writing both artistic and commercially viable numbers. Hale’s only co-write comes in album closer “Just Another Song” and it’s one of the strongest numbers on the album thanks to a co-writing credit by Catt Gravitt, who helped write some of the best numbers on Kramer’s debut two years ago.

Listening to “Just Another Song” makes one wish Gravitt had contributed more here, as she thrives in this type of setting, writing songs for young female artists who may be looking for a voice. While there’s little revelatory aboutRoad Between, it does showcase a budding talent that has the goods to extend her television career into one involving music. Hopefully she’ll be allowed to record a bit more substantive material going forward (really, how many numbers about kissing does one need on an eleven song album?) and further develop the strong potential she showcases onRoad Between.

Earlier this month, Dixie Chick Natalie Maines had a lot to say in an interview with Howard Stern on his Sirius/XM radio show:

“Growing up, when people asked, ‘What kind of music do you listen to?,’ I’d say, ‘Anything but country.’

She went on to insult her former core fan base further, this time by dragging up what is almost ten years in the past:

“I naively thought those same people would come again. It was not good. Our biggest fanbase was a country audience, and they weren’t there. I don’t trust it anymore. I don’t want to put my fate in country music fans, I’m too stubborn.”

And if country fans had any hope of a Dixie Chicks reunion following two planned Chicks concerts in Canada this summer, she made sure to squash those, too:

“I didn’t want to do (the Canadian shows), because I want to focus all of my energy [on] this album. I’m not good at multi-tasking. I just wanted one touring cycle to just focus on this, but I was outvoted.”

And she, of course, gets the final say in anything the Dixie Chicks get to do from this point onward:

“I just don’t feel like it’s the Dixie Chicks’ time. I feel like things were tainted permanently. So, I struggle with going out on five Grammys or going out — petering out.”

But she must end by making sure she’s totally clear:

“I’m still in the Dixie Chicks; we haven’t broken up … I love the Dixie Chicks; it’s the most fun I’ve ever had in my life. It was like winning the lottery.”

I can easily forgive someone who puts their foot in their mouth with a largely unfortunate gaffe insulting the President of the United States. Her behavior on March 10, 2003 was certainly uncalled for, but it never really bothered me – people say idiotic things, blah, blah, blah. It didn’t damper the artistic excellence of Home and it led to one of the most complete artistic statements I’ve ever heard, Taking The Long Way.

The Chicks were better for Maines’ comment because it broke down the barrier of fear and insecurity blocking deeply honest truths and shockingly raw sensibilities. Taking The Long Way showcased a band in full alignment with their authentic selves, an unapologetic force for both personal and social justice. With the levee not just broken but demolished, I had great anticipation for their artistic future – especially after convincing myself they’d never make a record as good as Home again. Instead they made a record that rendered Home an act of child’s play.

The real effect of their commercial demise wasn’t the open wound they left in country music but its inability to properly heal. The Dixie Chicks took the high quality of early-2000s country down with them, and the state of country radio has never recovered, more and more a parody of its former self each and every bygone year. They took with them the challenge to be great, to sing intelligent songs, and fill your records with the lyrics of strong insightful songwriters. Think about it. Had the Chicks proceeded as normal, without alienating most Americans, we’d likely been spared such dreck as “Tequila Makes Her Clothes Come Off,” “Dirt Road Anthem,” “Truck Yeah,” and “Cruise.”

They managed to make bluegrass, the genre Dierks Bentley couldn’t make country radio play with a ten foot pole, not just cool but profitable. They turned a cover of a Fleetwood Mac song into a radio smash. Heck, they put the banjo and fiddle in the forefront of mainstream country again. They even managed to turn in one of the coolest Bob Dylan covers in recent memory. They climbed musical mountains and made the impossible, possible.

Now it seems, it was all for nothing, at least to Maines. I understand the desire to change directions and make a solo rock album, but burning the last pillers of the bridge that made the rock album possible? Acting with complete disregard for anyone and everyone who may’ve bought an album in the past? Come on. Maines should be grateful to be talking about another album at all. The damage she did with “the incident” was bad, but this is taking things too far.

I love how she refers to her career in country music as a “job.” As though being a country singer is just another hat to wear. It amazes me that she could lead a genre she has so little regard for. I completely understand the alienation she feels from the country music community – I’ve never seen anyone turn that quickly on someone ever. She was banished to the guillotine faster a citizen speaking out against a ruthless communist dictator. It’s hard to believe even the most outspoken of country singers – Steve Earle, Merle Haggard, etc – didn’t see fit to rally behind her. But that’s not the point, is it?

Maines has made us all the fools. She’s turned her outspoken nature around to make us look bad. Like we were pawns in this big facade, supporting someone just going along for the ride, fulfilling the duties of a job. An actor in the meatiest role never to nab an Academy Award. But there’s a big difference now – our eyes are open. The fans can see right through Maines, a onetime FUTK fashionista. Her inability to be genuine is downright sickening. She’s nothing but a glorified knucklehead, talking just to hear herself talk. And enough is enough. Maybe the world is better without that Dixie Chicks album we’ve been long awaiting, if it means she takes her mouth and just goes away. At least until she has regard for something, and more importantly, someone.

Now, I still love the music of the Dixie Chicks. And The Court Yard Hounds. There’s something warm and inviting about Maine’s singing voicethat speaks to me. I’ve often been very good at separating people from their art. How can you not? Almost everyone in the entertainment business has said some stupid thing at one point or another. That’s why I will be buying Maines’ solo rock album Mother this May. I’m glad she’s back with new music. Now if she’d just shut up and let that music do the talking. It would be a nice change, and might restore the last faded strain of credibility she might have left.

Now, as pissed as I am at her continued lack of self regard, I’m glad she did the Howard Stern interview. I’ve (and country fans) have waited long enough for news about a new Chicks album, and this is the update we’ve needed for so long – straight from the horses’ mouth. But we should’ve been careful what we wished for.

Here you go. My least favorite country singles of 2011. You’ll see some huge hits here. But remember it isn’t about chart performance, but rather about quality:

40. Ronnie Dunn – “Bleed Red”

On his solo debut Dunn could’ve worn any hat. But he choose to go down the route of being over-produced and turned into a pop balladeer. And “We all bleed red” is such a statement of the obvious, it hardly bares drugging up in a song.

39. Jason Michael Carroll – “Numbers”

This is exactly why people hate country music. A laundry list of numerical symbols? Seriously, just how lazy can songwriting get?

38. Keith Urban – “You Gonna Fly”

On its own this isn’t a bad song. But I’m including it here for the simple fact it showcases an artist continuing to coast on their merits with yet another sound alike rocker that has become the norm. Urban will always be hailed for his guitar playing and entertaining abilities but not for his diversity in song selection. He just isn’t exciting anymore.

37. Luke Bryan – “I Don’t Want This Night To End”

A guy and a girl are rockin’ in a truck as if no other modes of transportation exist. Of course, she’s “so damn hot” he can’t stand it. He may not want this night to end, but this song surely can.

36. Jake Owen – “Barefoot Blue Jean Night”

A marriage of 80s rock with banjos coupled with a disposable tale of having fun with not only your buddies but the requisite hot babe, too. I Don’t Wanna Grow Up may be the smartest line in a country song all year.